Savage Minds welcomes guest blogger Pablo Figueroa. Pablo is an assistant professor in the Center for International Education at Waseda University in Tokyo. In this position, he teaches courses on globalization, leadership, and disasters. His anthropological research is centered on risk communication, citizen participation, and cultural representations of the Fukushima nuclear catastrophe. His most recent publications are two book chapters, Subversion and Nostalgia in Art Photography of the Fukushima Disaster and Nuclear Risk Governance and the Fukushima Triple Disasters: Lessons Unlearned, both forthcoming in 2016.
Inside the Fukushima Exclusion Zone: Place and Memory after Disaster
by Pablo Figueroa
FROM BEHIND THE WINDSHIELD of the moving car the landscape looks exuberant, unpolluted. Warm morning sunlight bathes the forest to the side of Tomioka highway, a 69 km stretch of pavement also known as National Road 114 that connects Fukushima with the town of Namie. It’s a Sunday morning and few people can be seen. The feeling of emptiness is vast and real. From time to time, large plastic bags appear along the road, neatly stacked one on top of the other. The orderly layout obliterates a much more messy reality: The bags contain highly radioactive soil that was removed from villages and fields during the so-called “cleanup efforts” following the Fukushima nuclear disaster. Their final destination undecided, the ominous recipients are a painful reminder of what happens when trying to decontaminate the environment after a nuclear catastrophe. You can scrape topsoil and wash the surface with pressure hoses as much as you like but Cesium-137, which has a half-life of 30 years, will keep coming down from hills along with other radioactive isotopes, carried by rain and wind, dispersing in manifold and uncontrollable ways. Continue reading →
[Savage Minds is pleased to run this essay by guest author Sarah Besky as part of our Writer’s Workshop Series. Sarah is Assistant Professor in the Department of Anthropology and the School of Natural Resources and Environment and a Postdoctoral Fellow in the Michigan Society of Fellows at the University of Michigan. Starting in Fall 2015, she will be Assistant Professor of Anthropology and International and Public Affairs at Brown University. Sarah specializes in the study of nature, capitalism, and labor in South Asia and the Himalayas. She is the author of The Darjeeling Distinction: Labor and Justice on Fair-Trade Tea Plantations in Darjeeling India (University of California Press, 2014) and other articles on social justice in agriculture and is currently working on a new book project on transparency, financialization, and tea auction reform in Northeast India.]
One of my favorite Saturday Night Live skits is a game show parody called “What’s the Best Way?” The premise is simple: a group of New Englanders jockey to give fast, accurate driving directions. Phil Hartman plays an old man with an airy Downeast Maine drawl; Adam Sandler an electrical contractor from Boston; and Glenn Close an upper-class Connecticut resident. The host, played by Kevin Nealon, asks questions about how to get from one place to another within New England. For example “Who’s got directions from Quincy, Maass to the Jahdan Mahsh department store in Bedford, New Hampshire?” Contestants buzz in, quiz show style, with their directions—directions which are loaded with quirky geographical references, including a “wicked huge Radio Shack” and a fahm that offers a chance to pick fresh Maine blueberries (“but only in the summah”).
I love this skit because it satirizes my own predilection as a native New Englander for giving overly detailed directions that orient the asker to the contours of the road, the colors and shapes of houses, and places that “yous-tah be there” (instead of supposedly conventional things like the number of traffic lights or street names).
But I also find this rather esoteric parody instructive for thinking about how to write place ethnographically. For many anthropologists, navigating fieldsites that are out-of-the way or otherwise marginalized, Phil Hartman’s character’s resigned answer to one directional challenge might ring a little true: Yah caahn’t get theyah from heeyah. Beyond writing about place, how can we use our writing to recall visual, material memories of getting from one place to another (or failing to do so)? Continue reading →